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Could the real Daniel Hope please stand up? Not that this excellent violinist
has gone away, or diminished his artistry in any way: he’s still out there,
pursuing a concert schedule busy with festival appearances and concertos.
Britten’s is featured prominently this season; he’s also playing Bruch,
Mozart, Korngold and Birtwistle.

Yet when Hope enters the recording studio he rarely takes with him mainstream
repertoire or even its modern aspirants. Themed collections, thoughtful but
snippety, dominate. Or classical bulwarks will be cooked in a post-modernist
microwave, such as last summer’s Vivaldi Four Seasons,
recomposed and remixed by Max Richter.